Sandrine Canac

In 1899, while examining Edouard Manet’s Jeune femme voilée at the home of the collector Charles Deudon (1832–1914), Pierre-Auguste Renoir alluded to an “ugly veiled woman” without identifying her (letter dated February 5, 1899 to Paul Durand-Ruel). Renoir did not recognized his close friend Berthe Morisot, who had passed away three years earlier. Yet in

This family album comes from the archive of Paul Ferdinand Gachet (1828–1909), a French doctor, a collector and friend of Cézanne and Van Gogh, but also an amateur artist who painted under the pseudonym Paul Van Ryssel. The album was organized, annotated and augmented by his son Paul-Louis Gachet (1873–1962), a painter and sculptor who

“These sketches are what he likes best, that’s where he puts all of himself, and deploys all of his audacity.” Albert André, 1925. It is by examining the photographs made from the glass plates found in the archives of Ambroise Vollard, one of Pierre-Auguste Renoir’s last dealers, that we can find a number of canvases

Henri Rousseau’s “Aztec landscapes”are known to stir his viewers’ imagination thanks to their fascinating strangeness. But who knew that Rousseau also composed songs, piano pieces, compositions for orchestra, and received an award from the Académie littéraire et musicale de France for La Valse à Clémence, a violin piece he wrote as an homage to his